Preview: CHOIR BOY at The Ensemble Theatre

CHOIR BOY follows a group of young Black students at Charles R. Drew Preparatory School for Boys as they navigate issues of identity and sexuality. This coming-of-age story highlights responses to human difference through multifaceted characters whose lives are held together by their shared humanity, and the beautiful music they sing. Through these characters emerges a story about anyone seeking to define themselves, regardless of their circumstances, histories, or the worlds they live in.

Tarell Alvin McCraney’s CHOIR BOY presents itself as a coming-of-age story set within the structured world of an all-boys prep school, but it doesn’t take long to see it digging into something more layered. Through Pharus, an openly queer-presenting student pushing against expectations of masculinity and respectability, the play examines what it really means to belong in a space that asks you to shrink or reshape yourself in order to succeed; something Pharus refuses to do. McCraney (and through him, The Ensemble) weaves questions of identity, community, and institutional pressure throughout, using the choir not just as a backdrop but as a necessary outlet for what these young men cannot say elsewhere. The result is a show that isn’t just about growing up or being accepted, but about what that acceptance costs, and what it takes to be fully seen.

Each of the characters act as a two-way street, generalizing the types of relationships someone like Pharus must navigate. Elia Adams plays Anthony, Pharus’ roommate and friend. Adams’ charisma is wonderful, and we can tell he genuinely cares for Pharus unconditionally, both teasing and being teased by him. Anthony is the accepting and nurturing friend Pharus needs, and one who won’t be pushed away. On the opposite side is Kaleb Womack as Bobby, who dislikes Pharus and relentlessly mocks and tries to subvert him. Womack rocks his solos (whether joyful or soulful), his tenor bright and clear, a striking contrast to the bully he portrays. As Junior (played by Samuel Jones), the bashful sidekick to Bobby, Jones is also wonderful, whether singing or acting. He walks the line beautifully between wanting to help Pharus and backing up Bobby.

David (Jakori Jackson) is studying to be a pastor and is often asking the Lord for guidance. He is there on scholarship and wants nothing to jeopardize his path to graduation. Jackson plays the internal conflict of this brooding, confused young man well, hinting at some past tie to Pharus that remains unclear. His solos are soulful and heartfelt, and he has a strong voice. The final schoolboy is played by Jordyn Christopher Wardsworth, whose unnamed character still makes a noticeable impact and helps round out the choir.

There is another dichotomous pair in the show: the adults, played by Corey Shields and Brian Broome. Shields is the fair and impartial Headmaster Morrow, treating protagonist and antagonist alike, and holding them accountable while urging them to become the “true Drew Men” the school strives to shape. Broome, as Mr. Pendleton, is a returning white teacher whose initial social and linguistic missteps give way to a sensitive soul with deep roots in activism and equality. Both actors are seasoned professionals whose performances ground and balance the cast.

Pharus (Shaq Hester) has a beautiful voice and commands the stage when he sings. His vocal range is impressive, and real soul pours through his runs. I do think his acting performance would benefit from greater variation in the form of more highs and lows (in volume and energy) throughout his scenes. He makes us feel for Pharus right away; I’d love to see more of the quieter, grounded moments to draw us in even further.

The musical and stage direction by Melanie Bivens and Rachel Hemphill Dickson is excellent. Much of the music and most of the spirituals are sung a cappella, which presents its own challenges, and the harmonies are beautifully arranged. Under Dickson’s direction, these young actors have found their voices and present fully realized characters rather than archetypes. An impressively versatile set, true-to-life school uniforms, and The Ensemble’s usual high production values make this another well-told story.

It should be noted that this review is based on a pre-opening preview, and as expected, there are a few elements still to be refined. I have no doubt that the longer scene changes and some pacing issues will be smoothed out, resulting in another thought-provoking and professionally produced show, the kind The Ensemble Theatre is known for.

I am a big fan of The Ensemble Theatre and have always appreciated the variety of work they present in service of their mission to enlighten, entertain, and enrich their audiences. Regardless of time, setting, or characters, audiences leave with both new perspectives and opened minds.